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[Tom]

Okkervil River - The Stand-Ins

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http://www.mediaf!re.com/?d0wmlhengef

Rules:

No hot-linking images or albums. You can re-host images at http://www.photobucket.com or at http://imageshack.us

Ensure your tags are correct and that you have specified both Artist/Album in your post.

Upload your files in either a .zip or a .rar archive to mediaf!re.com, in multiple parts if the album is over 100mbs. The reason for this is that we know mediaf!re is safe and efficient and allows multiple downloads. The ads on other sites, such as Sendspace, are known to contain viruses on the page. Get yourself checked out.

Post your link using code tags. It's the # icon above the afro emoticon. This prevents the links from being traced back to the forums, lowering the chance that the wrong people notice the thread, potentially threatening Jeph with legal action.

Do NOT request albums, it's annoying. Requests that have been disguised are not allowed either.

Repost the rules at the top of each new page.

[MrBlu]

Here is some Music I Think Is Nice. The kind I like for Easygoing / ambient / background /hip hop music. Please try it! Even if it's not really Your Thing. I

Masta Ace - Disposable Arts (2002)

This is Ace's most acclaimed album, I really like his kind of chilled but pure form of hiphop. This album follows the story of Ace leaving the Projects to go to the fictional 'Institute for Disposable Arts' which teaches rapping, hiphop and dj-ing and such. But besides a few skits, all the songs are strong on their own and loosely linked to different themes in the album, so it's not hammering the 'plot' down your throat.

Code: [Select]

http://www.mediaf!re.com/?xt1zw3onyil
Mattafix - Signs of A Struggle (2005)

UK duo, sort of reggae sound to them, also a bit blusey / hiphop. One is of Carribean heritage, the other is Indian, but both brought up in London. Makes for an interesting combination I think. It is kind of slow, not for busy days! Yes, it's two guys singing, but one of them sounds like a girl.

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http://www.mediaf!re.com/?byowz2y4j00

Good stuff on the Hip-Hop. The Masta Ace keeps cutting the download, but 3rd time's the charm. I'll try in the morning.
I'll dig up some old hip hop and upload it...

... SHIT YEAH! OKKERVIL RIVER!... Sorry.

Yeah, I'll upload a few Mobb Deep albums soon, some Kanye West, aaaand a Damian Jr. Gong Marley Album "Welcome to JamRock", for people interested in Reggae.

[Kai]

R-Boyle, I am assuming that "Lock The Nil-Fibber - The Planned Fins" is just a rhyming way of saying Okkervil River - The Stand Ins to avoid INTERNET COPS. if so, good thinking!

Something on the way! Namely an Ad Astra Per Aspera 7-inch and a compilation of crust music called CRUST AS FUCK

[amok]

"Welcome to JamRock",

This is a fucking awesome record.

[Liz]

Okkervil River - The Stand-Ins

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http://www.mediaf!re.com/?d0wmlhengef

Get this or one of us will track you down and kill you.

It is superb.

[Scandanavian War Machine]

*sigh*

...okay...

[imagist42]

Also get this one if you don't have it (WHAT IS WRONG WITH YOU?):

Okkervil River - Don't Fall In Love With Everyone You See:

The AMG review for this doesn't do it justice, so I'm not going to post it.

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http://www.mediaf!re.com/?ogkz0sgdjll

[Mr. Mojo]

Welcome To Sky Valley By Kyuss

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[URL=http://www.mediaf!re.com/?lxmsmcn21vr]http://www.mediaf!re.com/?lxmsmcn21vr[/URL]
Behold more epic stoner rock featuring the legendary Josh Homme on guitar. Well i don't need to explain too much to you because most of you have heard it.
Enjoy the stoner rock.

[Dimmukane]

USE CODE TAGS.  The little # symbol above the afro-smiley.


Clicking on that link won't work, anyways; there's a filter that changes mediaf ire to mediafire

[MrBlu]

Code: [Select]

http://www.mediafire.com/?pzmnljmgdbw
Damian 'Jr. Gong' Marley's first album. Reggae/Dancehall, for those who are interested.

[onewheelwizzard]

As promised, here are 3 albums by La Ira de Dios.  La Ira de Dios are a heavy-psych band from Peru.  Their music belongs in the same collections as Kyuss, Colour Haze, Hawkwind, Mammatus, Dead Meadow, Comets on Fire, Earthless, Acid Mothers Temple, Ahkmed, Subarachnoid Space, Thumlock, Hypnos 69, Moccasin, The Ganjas ... you get the point.  There are heavy trippy spacey desert vibes galore throughout these three albums.  (Note: vocals are all in Spanish, hope you don't mind.)

I got these albums from soundweave, so some of you might have them from there already.

La Ira de Dios - Hacia el Sol Rojo

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http://www.mediafire.com/?dtbbtjc1b9j
La Ira de Dios - Archaeopterix

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http://www.mediafire.com/?gjsumxttcix
La Ira de Dios - Cosmos Kaos Destruccion

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http://www.mediafire.com/?yqfj1iaybmb

[MrBlu]

Okkervil River - The Stand-Ins

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http://www.mediaf!re.com/?d0wmlhengef

Yup, file removed.

[Mr. Mojo]

Onewheelwizard... You are god.

[Tom]

Okkervil River - The Stand-Ins

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http://www.mediaf!re.com/?d0wmlhengef

Yup, file removed.

Shit, I'll re-up right now.

17 min. to go

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http://www.mediafire.com/?mfxkgl5yezq

[MrBlu]

I am going to upload more soon!
Please tell me if you are interested [PM me i guess?] Jurassic 5, Casual Projects [aust], John Coltrane, Talib Kweli??

Hate to bring up old stuff, but I WILL take you up on the J5 and Talib Kweli offers.

[alli]

I dont know if anybody is interested but heres some metal

Black Sheep Wall - I Am God Songs

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http://www.mediafire.com/?yv4vzkhhom5

Ya know, after listening to this, black metal and death metal just arent evil anymore. This IS EVIL! Black Sheep Wall sound like Converge having a baby by Eyehategod. Great soundtrack for your trip to hell

Blacklisted - The Beat Goes On

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http://www.mediafire.com/?0zvjxgjxnw2

Living close to Philadelphia has given me quite an amazing privilege to watch this band bloom into what they are now. Ever since I heard Blacklisted’s lead singer, George Kirsch, sing a guest spot on Punishment’s “Broken But Not Dead” I was immediately intrigued. The band's previous material was mostly overlooked outside of the Philly scene until the recent Deathwish release of We’re Unstoppable, which contained the Our Youth Is Wasted LP as well as the early demo tracks. To many, Our Youth Is Wasted will always be the defining Blacklisted record, but for me, I was more than willing to see what ...The Beat Goes On could deliver.  Noticeably, the band has weighted their music with a heavier guitar tuning and a beautifully punchy recording courtesy of Jim Seigel. If you’re scared off by blatant aggression and anger, then Blacklisted is probably not what you’re looking for in a hardcore band. The Cro-Mags-esque vocal style that Kirsch used on the previous recordings is seldom heard on this record. I’ve heard several Hatebreed comparisons, but unless we’re talking about Under the Knife or Satisfaction...-era Hatebreed i wouldn’t really group these two bands together. Blacklisted is entirely a product of modern hardcore at this point. Their songwriting style is proof of that. Somehow the band manages to be unapologetically heavy without resorting to tired chugga chugga breakdowns. Songs like “Wolves at My Door” and “I Refuse” are filled with motion in their structure as well as plenty of speed and aggression.  Unlike many, I wasn’t looking for the band to deliver another Our Youth Is Wasted because I think that’s a bit absurd considering what the band has gone through in terms of lineup changes. I’ve never complained when hardcore bands get heavier or more aggressive over time. If you share this same outlook, then ...The Beat Goes On will fulfill every possible desire you could have for a hardcore record of this day and age.

Burst - Origo

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http://www.mediafire.com/?mzb1ymjmngd

The big difference between Sweden's Burst and most of the other progressive metal bands of their ilk, like Neurosis, Isis, or compatriots Cult of Luna, is that — to quote Men in Black: "[Burst] make this look good!" Not in the sense that they're Viking pretty boys or anything, but because their songs manage to be so marvelously compact where others' go on, and on, and on. Indeed, like concentrated cyclones to those bands' vast hurricanes, most of Burst's songs relinquish little in the way of power or complexity, while boasting just as much form-challenging invention. And where this more compressed approach at times made for mixed results on their previous outing, 2003's Prey on Life, on Origo Burst have fine-tuned their always abundant songwriting creativity to an altogether higher, pinpoint focus. Standouts like "Where the Wave Broke" (a tribute to Tsunami-victim and Nasum singer Miesko Talarczyk, which could also double for recently deceased Fear and Loathing in Las Vegas author Hunter S. Thompson), "Homebound," and "Mercy Liberation" combine utterly startling contrasts of sonic light and shade that often achieve a soundtrack-like quality. Strung together end to end, they comprise a broad panoramic canvas belying their shortened lengths, and nestle other interesting offerings such as "Flight's End," which incorporates female vocals, the unnaturally all-mellow, Pink Floyd-recalling instrumental "It Comes into View," and several infuriated flare-ups in "Sever," "Slave Emotion," and "Stormwielder," whose purely hardcore-sourced intensity is rarely heard among Burst's competition. Yes, despite all these features, some listeners may still miss those bands' more deliberately paced journeys into the unknown, but Burst and Origo's tradeoff is offering similar emotional release, without taking up all of your day. Recommended.

Decapitated - Winds of Creation

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http://www.mediafire.com/?lm3yudimjjt

In the dark, murky realm of death metal, perhaps no band is more worthy of taking hold Excalibur's hilt and leading the next charge down the mountain into fiery oblivion than Poland's Decapitated, and one need look no further for proof than on the band's 2000 debut, Winds of Creation. Much has been made of the band's supposed "tender" age (the average age of the members was around 18 when Winds of Creation was released), and in fact, early on, they were slighted from the respect they would have otherwise been due because of this; however, it must be remembered that a certain gruff-throated, engine-wristed young vocalist/guitarist for another certain popular metal band was only 18 when his band's debut, Kill 'Em All, was released, and needless to say, as is the case here, tender had nothing to do with it. Ironically, in the eyes of many metal fans, Winds of Creation is almost as much of an astonishingly groundbreaking album as Kill 'Em All was in its day. To begin with, the band has a seemingly effortless understanding and command of both their instruments and death metal's highly stylistic requirements. The mind-bendingly blistering technical virtuosity would be amazing in a group of older musicians, much less for a band of teenagers, and better yet, they refrain from slipping into the routine, over-the-top expediency so common in their genre; the guys in Decapitated truly seem committed to getting death metal out of its then current rut and taking it to another level. Plus, the songwriting is extremely solid; even in the first listen, songs such as the manically frenzied "Blessed" and the beautifully haunting "Dance Macabre" stand out and away from the strange dissonance of "The First Damned" and the call-and-response riffage of "Nine Steps." The band even found time to throw in a cover of Slayer's "Mandatory Suicide" that somehow seems better than the original. All in all, this is essential material for death metal fans and anyone curious about the possible future of the genre. Unfortunately, death metal doesn't have a high rate of success for winning over new fans from outside the gates of its own wayward domain; it's one of those things with no gray area that divides people in a furious way — you either love it or hate it, and if you hate it, then expect a serious thrashing if you so much as try to sneak in through the back door. However, if any album could be capable of converting naysayers into fans, Decapitated's Winds of Creation is definitely a contender.

Gojira - From Mars to Sirius

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http://www.megaupload.com/?d=4MP2Y218

This is easily among the top picks for best metal releases of 2006, and it comes highly recommended for anyone looking for intelligent songwriting reminiscent of MESHUGGAH that carries both talent and a message.

The Psyke Project - Daikini

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http://www.mediafire.com/?n3jj61duyxc

The Psyke Project was formed in 2001 and has its home in Copenhagen, Denmark. The band plays hardcore influences ranging from punk to hardcore metal. The main motivation for playing this type of music, emerges from a profound love for the dark and brutal sound of hardcore and the sincerity and honesty in the statements made by most band from this scene. The Psyke Project seeks to create an intense chaotic sound mixed with heavy breakdowns and beautiful epic passages. Daikini is, a not so flattering describtion of the human characteristic, with its double morals, insanity, never to be trusted and lack of respect for others, when mentioned by “beings” from the world of fairytales. A brutal and gloomy generalization of our existence – but maybe not entirely unfair if we look at our history or the news! The Psyke Project is the sound of a world ruled by Daikini’s, but the boy’s in the band are more positive and confident, when it comes to the future.

Refused - The Shape of Punk to Come

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http://www.mediafire.com/?ymzdtniz13v

Many who listen to this album will say "Hey, this isn't punk" after not finding the power chords and 1-4-5 structures that they associate with poppy skate rock bands like NOFX and Lagwagon, but this is what revolution is all about. Taking a industry of specifications and expectations and turning it fully on its head, yet holding on to some semblance of what once was. Refused are pure innovation and passion spouting Nation of Ulysses-esque doctrine while fusing together the bite and flavor of fist-raised, Dillinger Escape Plan-style hardcore with ambient textures, jazz breakdowns, and other such deviations. Choppy, beautiful movements, choked thoughts, and feelings of elevation. This is what punk is all about friends, although to the common ear it may not sound like it — and that is precisely one of the reasons why it is so potent.

Callisto - Noir

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http://www.mediafire.com/?zsjw1dzmqn0

The name Callisto buzzes through the underground for quite while now. This is very much justified of course, because debut album 'True Nature Unfolds' was one of the better postmetal releases of the last few years. Especially the almost catchy songs and dark atmosphere gave these Finns their unique sound, but on the new album 'Noir' they felt a change was needed. Just like their Swedish fellow genre members Cult Of Luna Callisto has thrown a lot of their earlier agression overboard an opted for a more subtle approach. This is a drastic change for the fans of the first album, and it makes the band more susceptible to the lurking copycat virus… Although it cannot be denied that the Finns and the Swedes have grown closer together with their respective sounds, it must be said that both bands still firmly stand on their own legs. Just listen to the song 'Pathos', and it seems like there is a completely different band at work than on 'True Nature Unfolds'. The proggy keyboards are very much present on the whole record and the additional saxophone again also makes for a genuine Callisto atmosphere. This atmosphere on 'Noir' varies wildly from almost merry decadence with a dark undertone, to utterly depressing without end. It almost seems as if Callisto wanted to put the American 'Roaring Twenties' and its aftermath into music. The decadence and naivity versus the hard crash of reality and its deception. This ultimate blend of emotions can be heard on 'Noir'. It makes the album once again a very characteristic product.

Mnemic - Passenger

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http://www.mediafire.com/?0sgpitmllmj

"Mainly Neurotic Energy Modifying Instant Creation" (the acronym for Mnemic) is a pummeling and punching quintet of five Danes who've been hanging out on the fringes of the scene since 1998. They've quietly and persuasively won an international audience for themselves based on their original demos and their two previous albums — 2004's Audio Injected Soul was universally acclaimed for its blend of speed, texture, genre-bending styles and sheer aggression. Passenger goes a step further, but with a twist: the band's new vocalist is Guillaume Bideau (ex- Scarve). Recorded in L.A. with Fear Factory's Christian Olde Wolbers at the helm, Passenger is a study in human entropy: the lack of involvement in one's life leads to not only the wrong kind of pacifism, but to the decay of the senses, of logic, and of the ability to make sense of emotions, psychological states and spiritual impulses; one can site inspirational sources from Jean-Paul Sartre to Stanley Kubrick's 2001: A Space Odyssey. There are many inspirations for the themes in these songs, but what matters is that they rock like an unholy prophet assembling the masses for deprogramming. Drummer Brian Rasmussen is among the finest practicing the fine art of metal attack: he's the Keith Moon of metal; simultaneously all over the kit, sending out volcanic slabs of blast tempered only by his uncanny sense of time. He never misses — all one needs is a listen to the intro of "Pigfuck" for evidence. As for the rest of this insanely musical crew, they can quick-change like Meshuggah and tear down the walls between death metal, industrial, and thrash without even trying. And they can write actual hooks: the beautiful, seamless four-part harmonic vocal break in "In the Nothingness Black," with its slippery keyboard lines is simply ingenious. The twin guitar attack in "Meaningless" adds a new, elliptical chapter in the evolution of the new metal. The powerful riffing in "Psykorgasm" contains within it a gorgeous melodic guitar line that flows throughout the piece, changing shapes and time signatures effortlessly. While there is nothing remotely civilized about Mnemic's Passenger, it is nonetheless as sophisticated musically and intellectually as it is completely emotionally and musically unhinged from what's come before. Passenger is the album that should put them on the map for good. They've earned it, and this feels like just the beginning.

Scarve - Irradiant

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http://www.mediafire.com/?3y9jybrxexh

One of France's most talented and trailblazing heavy metal bands, Nice's Scarve arrived at a true milestone with the eclectic black metal of their third album, 2004's Irradiant. In fact, if the album has one glaring fault, it's assimilating too many extreme metal devices into its many-colored spectrum, but since when is variety a bad thing? At least as long as the artist in question knows when to say "when," and, except for their blatant Meshuggah tribute number, "Asphyxiate" (with its off-kilter drum patterns, minimalist tonality, and the Swedes' own Fredrik Thordendal providing the solo), Scarve usually do, tempering their restless black metal style-hopping with just enough control to keep the songwriting in focus. The deadly fusion of Strapping Young Lad's restless creative spirit and Samael's industrial black metal clearly inspires initial offerings like "Mirthless Perspectives," "An Emptier Void," and the title track, all of which also bristle with unexpectedly musical guitar solos — a welcome source of dynamic contrast — and never boring exchanges between the band's versatile, dual lead vocalists. The awesome "Hyperconscience" rides a vertigo-inducing melody over its pounding drums, the surprisingly harmonic "The Perfect Disaster" is both complex and accessible, and after indulging a hyperactive burst with the succinct "Molten Scars" (featuring Defleshed's Gustaf Jorde), Scarve stretch their legs on two very impressive and more extensive, prog metal excursions to wrap things up. All of which makes Irradiant an incredibly mature and visionary collection of songs that open-minded metal heads are sure to enjoy.

[medicatesleep]

Isis - Holy Tears and Not in Rivers But in Drops

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http://www.mediaf!re.com/?ffc0eeg1xih
NEW ALBUM YO!

[MrBlu]

Stevie Wonder's "Conversation Peace"

Conversation Peace is a 1995 soul album released by Motown soul musician Stevie Wonder. The album was Wonder's first full-length non-soundtrack studio album since 1987's Characters. This album yielded the hits "For Your Love" (a Grammy winner for Wonder for Best R&B Male Vocal Performance) and the reggae-flavored "Tomorrow Robins Will Sing".

Code: [Select]

http://www.mediaf!re.com/?grjhkbowp3j
EDIT::
That Isis album cover is NOT the most aesthetically pleasing thing that I've seen in a while...

[Catacombs]

That Isis album cover is NOT the most aesthetically pleasing thing that I've seen in a while...

I agree.  It's not even a good photoshop job or anything either.

[plyphon]

NEW ALBUM YO!

not a new album big fella

is a single+video+live

ive always found that irradiate album to be amazing... thanks for the post alli

[sean]

Envy/Jesu Split

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http://www.mediaf!re.com/?njn3z5mg0y9
This is Envy and Jesu's latest release, a split being put out by Envy's Japanese label Daymare and apperently at some point in the future Hydra Head as well. I think this is a very interesting release for both bands. For Envy, this release sees them dive even further into post-rock. The first track is almost ambient, with Tetsuya quietly singing over a shuffling electronic beat. The second track sounds like one of the quiet/post-rock moments off Abyssal, but maybe a bit faster until the almost the last minute, where it breaks into the Envy we have known and loved. And oh god, the drumming. The drumming just drives this last part as the guitars chug and soar ahead. Then, the third track. This one caught me completely off guard, as it starts off sounding almost like a Sunny Day Real Estate song. The song goes into Envy's standard heavy affair, but it keeps its indie-emo feel. Once Jesu's side started, I was completely taken aback. I don't really know what Brodrick has been up to as of late, but Jesu sounded more electronic than ever before with an electronic beat. After letting that play alone for a minute, Brodrick starts shoegazing over that and all is well. It's Jesu with a funny beat, and I like it. The second track also has electronic undertones, but gets this awesome chugging guitar at about the halfway point, and its super rad.

That is all. Enjoy the download!

[Tom]

Any body interested in some music that can be referred to as "dark surf"?

[sean]

What, like, the Beach Boys being sad and mopey? I mean, its sounds intriguing, if nothing else. Give it an upload. But really, where do people come up with this shit?

[idiosyncratic]

Stole the words right out of my mouth, Objects.    I will second the vote for an upload though.  I am intrigued as well.

[Tom]

Dark Surf is like the intersection of goth, gothabilly, D.C. (post) Hardcore and the song "Echo Beach". Surfy music with melodramatic, macabre, dark or bizarre lyrics that are kind of haunting. If you are so inclined, you could consider most of the sounds on Beck's latest as dark surf but what I really mean is "Surf Bat"-era 45 Grave, as well as the 1st Lost Sounds LP, Memphis is Dead, which has a very spooky, surf sound in places, especially the opener, "Ship of Monsters". Slant 6's Inzombia, with it's bubble gum punk come horror b-movie. Really, it's just something a guy from the band Blank Dogs came up with.

B/Film - Night Runner 7"

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http://www.mediaf!re.com/?sywdxdjgznn
45 Grave - Sleep Safely

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http://www.mediafire.com/?wjoeevc5mdu
Slant 6 - Inzombia

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http://www.mediaf!re.com/?gd5al5xb9bz
Lost Sounds - Memphis is Dead

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http://www.mediaf!re.com/?nzmqx2jymvk
Blank Dogs - On Two Sides

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http://www.mediaf!re.com/?wxyowp5dl3d
I also thoroughly recommend down loadig the King Loser Zerodrone pasted like 10 pages back or somethin'.

[Mr. Mojo]

Seeing as how i like surf and deeply depressing lyrics, I'm up for it.

[RedLion]

just upload, mang.

[medicatesleep]

One Day as a Lion - s/t demo

Here's Zach De La Rocha's new project w/ John Theodore from the Mars Volta. Sounds just you think it would.

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http://www.mediaf!re.com/?mfmhv00n2ax

[byebyepanda]

Q AND NOT U


Different Damage

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http://www.mediaf!re.com/?hbz3gk10mzh

Power

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http://www.mediaf!re.com/?tnwycz4mese



I'm having a hard time finding No Kill No Beep Beep. Now if only someone could upload it *cough cough* 
Thanks and enjoy!

[MrBlu]

John Legend's "Get Lifted"

His first album, and the better of the two to me.

Code: [Select]

http://www.mediafire.com/?dg1xyi0utdj
I must apologize for the .wma format for my uploads, but my PC isn't exactly 'fast' and the conversions would take a while.
I'll get around to it and re-up later.

[mat_mantra]

I've got two Jayhawks albums uploading, Rainy Day Music and Tomorrow The Green Grass for anyone who wants some nice alt rock/country. 

Rainy Day Music-m4a format

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http://www.mediaf!re.com/?zczjivew15i
Tomorrow The Green Grass - m4a

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http://www.mediafire.com/?3yvmji5bwms

[avidae]

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http://www.mediafire.com/?ngg5pgvtuh4
2008 - Conor Oberst - Conor Oberst

[JediBendu]

So months ago I said I was going to upload Giant Squid and I never did. But now I am. I saw that Isis had been uploaded and I thought I'd contribute some more post-metal:

Giant Squid - Metridium Fields

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http://www.mediaf!re.com/?3umdk0tgyxb
This is the re-recording of the independent Giant Squid debut, Metridium Field. Unfortunately this is in wma format, but I encourage anyone who likes post metal or doom metal or even just maybe post rock to check this album out anyway. If there's any band I've ever heard who sounds like their name it's Giant Squid. The tone and atmosphere on Metridium Fields is evocative of the deep sea. I've always loved how they can alternately be eerie, hauntingly beautiful, and punishingly heavy all in one song (see: "Versus The Siren"). Of everything, the transition from the mood-setting "Eating Machine" to "Revolution In The Water," and the song "Ampullae of Lorenzini" are my favorite things on the record. Basically, when my friend brought this album back from the show that I neglected to attend, I immediately regretted the decision.

Edit: To heap a little more intriguing praise onto this album, here's some choice review excerpts I found on their label's website:

"Finally, a post-everything band that actually meets and sometimes surpasses their insta-cool laundry list of influences." - Decibel Magazine

"I really find it hard to believe you've ever heard another band that sounds like Giant Squid." - musicstreetjournal.com

"...the fact that the band is this brave and this different with their debut points to good things in the future." - undergroundreview.com

"It's no exaggeration that no other band sounds like Giant Squid." - Stylus Magazine

"The "post-rock" album of the year from a metal band." - Prefix Magazine

Giant Squid - Monster In The Creek (EP)

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http://www.mediaf!re.com/?amkktd991eb
This one is a bit more conventional (I might even go so far to say it's more poppy) than Metridium Fields. But it definitely features some quality tracks. "Throwing A Donner Party" is maybe my favorite song from the band. Features more liberal use of synths than the full-length, and a lot less mood-setting ambience. Supposedly the majority of the songs are about shark attacks. Or something. (This one is also better quality than Metridium Fields, and in mp3 format.)

[MobyDickhole]

I know... no requests, but I don't know where else I could find this:

I'm looking for that fake Girl Talk leak that came out.
 I'm kinda curious to hear it

[mat_mantra]

Sweet, found some more Lite, here is Filmlets for your listening pleasure

Code: [Select]

http://www.mediaf!re.com/?1mlzegdulgz
(Not my code, but it didn't try to give my computer herpes or anything)

The Japanese post-rock quartet LITE achieve moments of brilliance throughout their debut full-length CD Filmlets. Guitarists Nobuyuki Takeda and Kozo Kusumoto make full use of the stereo spectrum, constantly playing off one another rhythmically, melodically, and dynamically. With the bass work of Jun Izawa underneath them, the wall of sound they create has so many exciting layers that it is impressive to just imagine the tracks performed live. Yet, the true standout performer of this quartet is without question drummer Akinori Yamamoto, who transitions time signatures in a way that have caused some to claim he's embodying the spirit of Damon Che. The two acts aren't unavoidably comparable; the compositions on Filmlets are less erratic than that of Don Cab and arguably more dynamic. LITE adapt to this dynamic aspect of the album well; the soft voicing of guitars and bass in "Dead Leaf" momentarily sound like a completely different line-up than the one that rocked out in the frantic "Human Gift," but both are equally effective. This multiplicity is what ultimately makes Filmlets so impressive. Of course, the musicians are technically impressive, as well. From the speedy slap-and-tap technique of Izawa in "On a Gloomy Evening," to the call and response stereo guitar work performed in "Spiral Gate," LITE constantly impress with their abilities. Yet what is certain to be taken away from Filmlets is how effortlessly LITE are able to stretch the post-rock genre dynamically without recalling the same quiet/loud formula pioneered by those before them. With regards to production, the arrangements force the listener to concentrate on the individual instruments rather than the overall timbre. In fact, the performance captured genuinely sounds like a quartet - something many post-rock acts have, for better or worse, moved away from.

Also, I have the S/T, Phantasia, and this album as well saved to my exterior drive, so if anyone wants and it gets taken down just shout and i'll re-up

[pat101]

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http://www.mediaf!re.com/?ngg5pgvtuh4
2008 - Conor Oberst - Conor Oberst

I'm not going to lie, I'm curious (though currently without my own computer) how is it?

[katiejoy]

Women - Women

Dude! Thank you so much for posting this. I've been meaning to pick it up for a while and just haven't gotten a chance to do so.

My contribution is the latest Sandro Perri release, "Tiny Mirrors".

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http://www.mediaf!re.com/?tnge5vzchxn
This record is very summer-y. It's a little quiet and sleepy, but very intricately and carefully crafted. Apart form being a great producer, he's also contributed to a bunch of wonderful albums including two Great Lake Swimmers albums, Woodpidgeon's "Songbook" and Matias' "Summer". Download it. It's really lovely.

[britany]

Otto Von Schirach - Chopped Zombie Fungus

(neat weird/dark electronica)

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http://www.mediaf!re.com/?42m0tyzzi9m
Otto Von Schirach - Global Speaker Fisting

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http://www.mediaf!re.com/?4mngfjewzpm
Otto Von Schirach - Oozing Bass Spasms

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http://www.mediaf!re.com/?mqtnz3nc34l

[redphoenix11]

This thread could use a little Killing Joke

Killing Joke - Killing Joke [1980] 



From Allmusic:
Since 1980, there have been a hundred bands who sound like this; but before Steve Albini and Al Jourgensen made it hip, the cold metallic throb of Killing Joke was exciting and fresh. The harshly sung vocals riding over the pulsating synth lines of the opener "Requiem" have a vigor and passion that few imitators have managed to match. The precise riffs and tight rhythms found in songs like "Wardance" would influence a generation of hardcore musicians; yet "The Wait," with its thrashing guitars and angry vocals, would find itself covered on a Metallica album only six years later. That such a bleak and furious album could have such a widespread influence is a testament to its importance. Certain parts of the album have not dated well; the vocals and drums are mixed in such a way that they lose some of their effectiveness, and the fact that so many other bands have used this same formula does take some of the visceral feeling away. But this is an underground classic and deserves better than its relative unknown status. Fans of most kinds of heavy music will probably find something they like about this band, and this is a good a place as any to start the collection.

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http://www.mediaf!re.com/?pyiilyzjjtg
Not my favorite Killing Joke album, that honor goes to eitherNight Time or the 2003 self-titled, but a great debut and one of the best post-punk albums. Plus, LCD Soundsystem used the beat from "Change" for "Losing My Edge"

I've got all of their studio albums if anyone wants more.

And I'm gonna throw in some Lush for the hell of it

Lush - Split



From allmusic.com:
Entire albums spent exploring the depths of the various nasty things surrounding romantic relationships were nothing new by the mid-'90s, but the vaguely cinematic and slightly conceptual Split is something more. Perhaps it's the manner in which each distinctive song manages to melt into the next. Or maybe it's the across-the-board improvements over Spooky. Most knew they were capable of more after the decent but flawed record, but it's doubtful many could have predicted something this thoroughly wonderful and varied. Throughout, Lush sounds confident and downright muscular, as opposed to the feathery wisps of earlier material that could be knocked down with the slightest of breezes. Miki Berenyi's high-heaven vocals have increased range, power, and presence. Chris Acland's drums propel the proceedings more than before, perhaps pushed into better realms by new bassist Phil King. Producer Mike Hedges knows just what to do with the band's elements, adding grace and balance that no other could previously achieve. Kudos as well to a bang-up job by mixmaster Alan Moulder. It's an ardent roller coaster ride, centered around the lengthy mourners "Desire Lines" (oddly a single) and "Never-Never," which clock in at eight minutes apiece. Berenyi effectively conveys the resigned and soul-deadened nature of the lyrics. "Blackout" and "Hypocrite" prove the band's ability to be more assaultive, laying the foundation for their sound on Lovelife. Through breezy pop ("Lit Up"), brief shards of electrocuting dread ("Invisible Man"), and tales of obsessive voyeurism ("Starlust"), Split touches on most forms of emotional turbulence. Not necessarily a comeback but certainly a legitimizing stunner, the record prevented the band from being lost amidst the bunker of form-over-function dream pop bands. Split shattered every negative aspect of those failed acts with flying colors. A fantastic record within any realm.

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[michaelicious]

Here is a band from Kitchener, Ontario. They are excellent. They are called Humshuttle. I saw them play with Wintersleep a couple years ago. I was really impressed at the time but then I kind of forgot about them. I remembered about them today. Unfortunately, they don't have any official releases but here are six songs that you can order any way you please (or leave them the way I have them ordered) and call it an EP! My favourite songs are "Slow Focus" and "Goose".

Humshuttle - Six Songs

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http://www.mediafire.com/?xxdwhm1nvn4

[Kai]

I'm not going to lie, I'm curious (though currently without my own computer) how is it?

I am actually really enjoying it! I've listened to it about 5 times since I downloaded it yesterday. Much better than Cassadaga, or at least I'd wager as such.

[johnny5]

birthmark - the layer

(nate kinsella)

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http://www.mediaf!re.com/?fjbtj1hkg9y

Under the appellation 'Birthmark,' Nate Kinsella has embraced restraint in spite of the compositional boundlessness typically borne by musical virtuosity.  On his debut album 'The Layer,' the inventive and often byzantine drum set/Wurlitzer style he developed over the past four years in the band 'Make Believe' is all but absent, revealing a quiet and uncanny tension of minimalist focus.  And while Kinsella performed all of the music on 'The Layer', recalling his multi-instrumental duties in the band 'Joan of Arc,' the listener is more awestruck by the attention to integration and score than by a whirlwind of prowess.  'The Layer' represents an effort that began over eight years ago with the song 'Flightless Bird,' which was originally written for a friend's unfinished film project.  Over time, the songs transitioned through amorphous forms until their ideal structures were achieved, further revealing 'The Layer' to be a product of discreet process.  In fact, two sharply contrasting songs on 'The Layer,' 'A Solitary Angle on the Confinement of Doom' and 'The Layer' started as the same tune, and the piano throughout was recorded in Minnesota over two consecutive Christmas vacations.  While the
recording of the album spans four years and numerous locations, it is bound by an elegant and earthy lyrical form that is telling of Kinsella's ardent atheism and wonder at the natural world.  'The Layer' further bears witness to his growth as a recording engineer, which ostensibly began with his former band 'decembers architects'' only LP and progressed to collaborating on multiple recordings by 'Joan of Arc,' 'Sharks and Seals,' 'Owen,' and most recently the soundtrack to Tim Kinsella's debut film, 'Orchard Vale.'

[imapiratearg]

Jesus, how many Kinsella brothers are there?  Three?

[johnny5]

there's like five million. they are like the wayans bro's of the indie world

except their creative output doesn't suck as much/often

[Albatron]

Killing Joke effing rock,

Here's some crazy techno I highly recommend,

DJ Keoki - Ego-Trip

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http://www.mediafire.com/?0yws1zm5ymy
From allmusic

Probably the most visible DJ on the mainstream U.S. dance scene, Keoki released a half-dozen mix LPs and, beginning with 1997's Ego Trip, his own breakbeat-trance productions as well. Born in Panama but raised in Hawaii, Keoki hit the mainland in the mid-'80s and gained an airline job in New York. While moonlighting at the Danceteria nightclub, he decide to translate his love of music into a DJ career and soon became one of the city's most flamboyant DJs -- he dubbed himself "Superstar DJ Keoki" long before he gained any fame at all.

[Caspian]

Because someone's got to break OneWheelWizard's monopoly on psychedelic stuff, here's some quality early psych/metal stuff from Japan:

Flower Travellin' Band- Satori

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http://www.mediaf!re.com/?8jmmkzaijyy

I think the early 1970s is a bit of a trove of undiscovered gems for many metalheads. This is the birthing time of our favourite style of music, but also pretty close to the adolescence of rock music as a whole. In the beginning rock was basically bastardised blues injected with the smugness of middle-class America and marketed for rebellious teens. In the 1960s, many of those who grew up with rock's simple formula were becoming more enlightened, more cynical, and possibly out to do more than play for school dances and the luring of pretty girls. This rock phenomenon was pushed to every corner of the globe, and I think it's safe to argue that by the late 60s its essential American-ness had been diluted as the style evolved and slowly took on new forms and permutations, probably to the intense surprise of the record label executives who were so quick to get on board with this marketable scheme in the first place. That nasty, subversive rock music even found its way to stolidly conservative Japan.

And thus, I must thank the reviewers below me on this page for giving me the motivation to really investigate this, The mysteriously obscure (at least over here) Flower Travellin' Band. Very much inspired by the blues at the outset, as well as late 60s British rock like the Yardbirds (probably closer to actual blues than what many of their American rock contemporaries were doing), FTB played a lot of covers and injected them with their own flair for psychedelics and trudging jams, to say nothing of rather quirky and versative vocal arrangements. In 1971, the sadly short-lived entity unleashed "Satori" to what I suspect was a rather limited audience.

Now, let me tell you that by this point I've heard quite a lot of early 70s rock music, and there's a reason why everybody maintains that "Master of Reality" was the heaviest album released by anyone until that date .. at least in terms of guitar tone, colossal riffs and sheer crushing doom, Black Sabbath's first four albums, at least at certain points ("Into the Void", "Electric Funeral", "Under the Sun"!) just cannot be beat and still knock us to the floor and leave us crawling and wretching to this day. So, it's not lightly or without considerable cogitation that I say, The Flower Travellin' Band's "Satori" is "Master of Reality"'s only rival in the figurative heaviness race of 1971. Hell, the previous year, FTB even covered the song "Black Sabbath", and while that cover honestly doesn't hold a candle to the original (the coolest thing about it without a doubt were the vocals ... oh nooooooooooooo!), the fact that they chose to render their own recording of this seminal song so soon after its creation by the Birmingham louts should give a clear indication of where their heads were at and why they felt it was necessary to become heavier, slower and more mysterious for what turns out to be their magnum opus.

Don't get the wrong idea, though .. this is actually quite a different entity from Black Sabbath, and I think the band's cultural origin really did them some favours here. For one thing, they dropped much of the blues for "Satori", although there are still plenty of hints present, especially in "Part IV", which even includes harmonica soloing. They've replaced it with hypnotic, "circular" and very Japanese-sounding riffs and melodies. Imagine "Electric Funeral"'s approach to speed and heaviness but turned Asian and extraordinarily psychedelic and you'll have a good idea of what you'll find here. Fortunately, Joe Yamanaka is a really charismatic vocalist, and while he's in no way placed ahead of the other instrumentalists in terms of importance, he adds to the wonderful exoticism of this record and sweeps away more of the Black Sabbath comparison. He can sound just a little bit like ozzy at times but with a quavery Japanese timbre, and he can also let out these spine-chilling wail/shrieks that are just a bit Gillan-like but really don't sound like anyone else, and certainly not any contemporary of his.

Aside from the very obvious ethnic influence though, there's something else very progressive going on, and you will hear it in very startling spots all over this album, but most notably in the stunning finale. This piece seems based on a single chord, a pulsing bass-line, shiver-inducing vocal ululations, and even some chime-like sounds that might be produced by some kind of organ. It plays around a lot with an eastern scale and is full of seemingly endless wah-wah drenched mind-melting soloing, but it also touches us with what I swear is the fastest and heaviest rhythm-guitar picking recorded up until this point. What is going on with that staccato stop-start rhythm and palm-muted chugging? What is this, fucking prog metal? It's 1971, guys! Am I dreaming or what?

Funny, I've singled out the very end to talk about first, but it's actually difficult to see this as a collection of songs, though each part of the "Satori" suite, if you will, does have distinct themes. Part II is certainly the most uplifting-sounding, and while I have no idea what he's singing about, it remains heavy and catchy throughout, never straying too far into left field and retaining a shuffling simplicity but not once coming across as boring in the slightest. I suppose all the high-pitched lead-based riffing and quavering Japanese vocals could get on some peoples' nerves, but hell, I think it's great, and a really profound and welcome break from the strictures of western rock music. Yes, repetition is used a lot here, especially in the incredibly elaphantine third part, where I think the "Electric Funeral" comparison seems most apt. If you think that main "Electric Funeral" riff (and you know the one I mean) is morbid as hell, my hope is that you'll love this one just as much, with its incredibly cool folky delivery and thick wall of guitar and bass slamming at you over, and over, and over again. If there's one thing I could wish for it is that the drummer had a bit more of a jazzy style, as in Carl Palmer or of course Bill Ward, but having heard the 1973 live album, I know this guy can be adventurous and playful when he likes, but that for "Satori" at least it was essential that he simply be the backbone for the music and do what he needs to do. There's still some interesting inflectives going on with the percussion, including some use of woodblock and I believe some cowbell as well.

The way the damn thing starts really ought to hook you right away. The drummer plays gently with the cymbals for a few seconds, saying to us, "Welcome aboard, this is your Enlightenment Trip,please relax" .. there's a quite flutish whistling sound, and then, before we're given a chance to fasten our mental safety belts and find some kind of tether to our boring little existences, Joe suddenly and completely without warning or pre-amble jumps on us, lets out the longest, most piercing "aaaaaaaaaaaaaaaaaaaah!" at maximum force and highest pitch without any instruments backing him, and we are off, as they say, with a snarly, note-bending riff that decidedly wasn't born anywhere in the West. It's so outrageous, so "hah hah hah, now what are you in for, you quivering young tokers!", and I adore it like a breath of fresh air after being caged in an environmentally-controlled basement the day long.

A thirty-seven-year-old breath of fresh air is really what this record is for me. It appears to have come into my life exactly when I needed it, and while I have to wonder where it's been all this time, I welcome it with open arms. What are you waiting for? Embrace Enlightenment!

[redphoenix11]

I'm posting Killing Joke's second through fourth albums. The latter two aren't that great, though the remastered version of Fire Dances, which I've put here is way better than the original since it was remixed. What's THIS For...! is pretty awesome though. "Follow the Leaders" is probably one of Killing Joke's best songs. If you guys want me to keep going, I'll put up Night Time, which is probably their most melodic album that doesn't suck, and then skip the other two 80s albums and go straight into their 90s output, which manages to be pretty heavy...

Or I can just pander and put up some MBV EPs...


What's THIS For...!

If not quite as remarkable as the band's gripping self-titled debut, What's THIS For... showed that Killing Joke could maintain its frenetic, doom-wracked intensity while experimenting with its already strongly established style. Coleman's vocals go through even more treatments and tweaks than before, chorus shout-alongs swathed in deep echoes, hidden behind Geordie's punishing riffs and the steroid-driven rhythm section. Big Paul Ferguson in particular lays down some absolutely skull-crushing drum slams; Youth is no less intense at most parts, and often they rather than Coleman or Geordie dictate the song, as the lengthy death-groove of "Madness" makes perfectly clear. Elsewhere Geordie shows a calmer (comparatively) side, soloing on songs like "Butcher" making common cause with the guitar work of Bernard Sumner in Joy Division days -- indeed, the song as a whole could almost be a tribute to that band, and one of the better ones at that. The playing around with supposed genre boundaries doesn't hurt either -- the beatbox/synth loop pulse of "Follow the Leaders," crossed with brusquer blasts from the core band, suggests its eventual path in later years, while "Tension" lets the slithering funk heart of the band burst forth even more strongly. (The drums and opening riffs themselves almost sound like a parody of the Knack's "My Sharona!") "Unspeakable" is arguably the hidden highlight of the album, Coleman's heavily flanged, distorted singing sliding down a slowly descending chord pattern that suggests an early glam band gone martial and paranoid, Ferguson all over his set like four people at once. The debts of later bands towards Killing Joke are even clearer than ever, whether it's the fact a group named themselves after the opening track "The Fall of Because" or that late-'80s Ministry so effectively cloned the whole style on songs like "Burning Inside."

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Revelations



The top review from Amazon because the allmusic review is kind of lacking.

Killing Joke's third album, 1982's "Revelations" is a pretty drastic departure-- working for the first time with an outside producer, Conny Plank, the is a cleaner sound-- more separation between the instruments rather than the somewhat muddy sound of the previous records-- this is further accentuated by a more metallic sound in the guitar.

The album maintains the sort of edgy apocalyptic vision of previous records, but Coleman's lyrics have moved into a somewhat ranting direction-- sometimes it succeeds ("We Have Joy"), but more often than not, it fails to sustain interest ("The Pandys Are Coming", "Chapter III" or the awful "Dregs"). And with the production uniform and consistent, and the album consisting largely of similar tempo and feel among the numbers, plus Coleman experimenting with his new singing style (he'd get it down right in a couple albums), the material really doesn't hold together well.

Its got its moments-- the album opens decent enough with "Empire Song" being one of the real highlights, and "Chop-Chop" barring annoying vocal is really amongst the most varied of early Killing Joke material, but beyond that, the album generally fails to sustain my interest.

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http://www.mediafire.com/?acyonvbmbpm
Fire Dances

After stalling a bit with their 1982 album Revelations, Killing Joke nearly split up, with lead singer Jaz Coleman disappearing to Iceland in order to "survive the apocalypse." By the time Coleman returned to the band, bassist Youth was gone and replaced by Paul Raven, a perfect fit who would stay on board as the band found its way up the charts over the next few releases. As a reaction to all these comings and goings, this is a decidedly tribal album that opens with a track called "The Gathering," follows it with the "join the mob" anthem "Fun & Games," and features words like "we" and "us" throughout the album. The ultimate communal moment, "Let's All Go (To the Fire Dances)," is also the key track, with guitarist Geordie Walker bouncing between crunching barre chords and a Duane Eddy-on-steroids riff while Raven and drummer Paul Ferguson throb like a veteran rhythm section. Even if Coleman's lyrics are filled with venom as always, he's rounding up allies to fight the system here and considering the idea of connecting with his audience rather than just confronting them. Fire Dances bridges Killing Joke's primal past with their more melodic, accessible future and without compromising any of their thunder.

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http://www.mediafire.com/?ptzuzxxyg2m

[Clintaga]

Guys sorry for lurking, but can someone please Re-Up Pinback's Offcell EP for me plx? I'll post hell of Acoustic Jams in a day or two.

[Rez]

I've been mooching off of this thread for far too long now, so I decided to give back a bit.

Because everyone loves Fleet Foxes at the moment, here's their EP which isn't the Sun Giant one. I don't think this has been posted in this thread.

http://www.med!afire.com/?txajw13m94x

I happened to see Nathan Fake last year playing on a beach in Spain, which was nice- I think Jeph has spoken of him before. M83/BoC style shoetronica. -

Nathan Fake- Drowning in a Sea of Love- http://www.med!afire.com/?1adxngbytx5

The Big Sleep were a lovely post-rock band that used to play in my hometown of Reading, until they split up- This was a big shame

 http://www.med!afire.com/?grxte2b6djo

Nightmares on Wax- Carboot Soul http://www.med!afire.com/?jty2mtjwyja - I consider this pretty much an essential CD, but I'm unsure of NoW's presence over in the US? Incrediby chilled trip-hop, emphasis on the soul.

The Dodos- Beware of the Maniacs, sounds like a fusion of Animal Collective and Deathcab, I'm guessing that every user in their right mind already has Visiter, but everyone seems to have forgotten about their debut album. http://www.med!afire.com/?id4bmotyxdj

Boards of Canada- Closes Vol. 1: Extremely early Boards of Canada release, not released officially. Check out the lovely elongated version of roygbiv on here called Numerator Original. Good stuff. http://www.med!afire.com/?55mhzkt3lmt

Joseph Nothing- Dummy Variations: The "funnest" electronica record I've ever listened to, Dan Deacon notwithstanding.

Kode9 and The Spaceape- This is in return for whoever posted the Distance album (I love you whoever you are), more fantastic dubstep- for people familiar with Burial's debut, this is the same bloke which talks/growls over the second track.  http://www.med!afire.com/?yzm1mjgtgxg

Hope people enjoy this stuff just as much as I've enjoyed all of yours.

[ptownblazer]

Joseph Nothing- Dummy Variations: The "funnest" electronica record I've ever listened to, Dan Deacon notwithstanding.

I would be very interested in this but it seems that you forgot to post the link!  Thanks for the great post.  I will note that thankfully somebody posted Beware of the Maniacs some months ago.  I only note this point out the fact that on this thread, nobody has forgotten about the album, though a redundant post is not really a bad thing, especially when it's a sweet album!